I find sound and music just amazing. Lucky for me, I get to do them for a living. I'm the production mixer / dialogue editor for Fox's "American Dad" while doing some post audio and composing on the side. In the past I have done this same job on "The Cleveland Show," assisted the production mixer on "Family Guy," restored audio soundtracks for TV and film, done some sound editing and mixing, recorded and mixed a bunch of music projects, played in the Laker Band and a few rock bands, and taught high school band as well as private drum set lessons. I love to listen to brilliant sound and music people geek out about what they know best.

Read more about me. Or go to my IMDB page.

I am a member of MPEG, MPSE, NARAS, and ATAS.

Everything is a drum: two large men edition

By now these guys have been on late-night TV and tons of folks have seen them. But it’s so good I had to help spread the word anyway. In “Tummy Talk 2,” the rhythmic interplay and the choreography of the performers gets a lot more intricate and it’s just super fun. Here it is:

In case you missed the original, watch “Tummy Talk.”

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Favorite feed: Twenty Thousand Hertz podcast by Defacto Sound

Every now and then you meet someone and just kind of know that they’re going places. When I first met my friend Dallas Taylor, that’s how I felt. Now he runs a successful audio post house and has one of the most popular podcasts on iTunes, and I have a feeling he’s just getting started…

Twenty Thousand Hertz is a great, easy-to-listen-to podcast with stories and interviews about those hidden elements of sound and sound design throughout our world, the ones you might never have considered or even heard of before. The NBC chimes, the voice of Siri, the sounds of the cars we buy, the hum generated by a secret government project—lots of neat little explorations.

The site: https://www.20k.org/

The feed: http://20khz.libsyn.com/rss

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What a music recording engineer actually does.

Fantastic, short, hilarious video formerly known as “The profession of a sound engineer 2013.” As with so much great comedy, it’s exaggerated in just the right ways, while underneath there’s that kernel of truth.

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Diego Stocco's Custom Built Orchestra.

Now here’s a man living out his love of sounds. A great introduction to Diego Stocco via his Custom Built Orchestra:

If you thought that was anywhere as neat as I do, you’ll want to see more of his work. Lucky you: http://www.diegostocco.com/custom-instruments/

Enjoy!

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The EQ of Food: Torpedo IPA.

Sierra Nevada Torpedo Extra IPAA while back I realized I think of the taste of a beer in terms of a frequency response curve, and that I am not the only one capable of such audio-geekiness when it comes to beer. In pursuing this further, I decided to use a simple a five-band “graphic EQ” model which, in audio, would represent lows, low-mids, mids, high-mids, and highs. In beer, here’s how different flavors and descriptors map out for me:

LOWS – body, stout, espresso; earthiness, fullness

LOW-MIDS – malt, berries; richness

The EQ curve of Sierra Nevada Torpedo Extra IPA.

The EQ curve of Sierra Nevada Torpedo Extra IPA.

MIDS – toasted hops, fruit; presence

HIGH-MIDS – bitter hops, grass, herbs; edge, brightness

HIGHS – citrus; crispness

I decided I’d choose a number from 1 to 5 to represent the level of each of these “taste bands” relative to my general experience with beer. Here’s the latest: The frequency response of a Sierra Nevada Torpedo IPA

2-4-4-4-3

I think a picture can be more precise and revealing, so I grabbed a post-it and drew this as a frequency response curve. Anyone else have anything to say about this? Aside from calling me nuts?

One observation: I’m beginning to feel that the lows generally map to the back of the tongue, and the highs map to the very front. I’m not yet sure if it’s linear and straightforward, though, or if there’s more to it than that. Another observation: I don’t think of most foods this way, but it seems to make sense more with beverages than with food, which strikes me as odd. But also more likely with very flavorful food than with bland food, which seems to make sense.

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Dave Pensado interviews Claudio Cueni on editing for a holographic performer.

At a recent incarnation of the huge Coachella music festival in California, a hologram of deceased rapper 2Pac “performed” on stage, including some introductory words. Someone had to do the work of sifting through recordings of 2Pac and cutting together the right takes to make a convincing performance. That someone was Claudio Cueni, who says he spent two and a half days just cataloguing every piece of 2Pac audio that had been made available to him. In this episode of the popular Pensado’s Place podcast, Cueni talks about that and other things—like the challenge of creating words that 2Pac had never been recorded saying.

The main interview of the episode is Thom Russo, and that ain’t so bad either. Enjoy!


Watch Pensado’s Place – Episode 064 – Thom Russo in Educational & How-To  |  View More Free Videos Online at Veoh.com

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Orchestras through the eyes of GoPros.

A few years ago I shared New York Phil trombonist Dave Finlayson’s hilarious video taken from the slide of his trombone as he played.

By now it appears everyone is doing it. My wonderful teacher friend shared this with me—thanks, Ria!

Plenty of other examples are out there, but this appears to be one of the more exhaustive, with 24 cameras distributed among the players and instruments of the Czech Philharmonic under maestro Manfred Honeck. You’ll see some neat points of view, especially if you’ve never played in an orchestra before. Less experienced instrumentalists might enjoy this closeup look at how musicians do their thing in this setting. And as a recording engineer, it’s not exactly educational, but still a reminder that every player and instrument is different, so using our eyes and ears as we mic up a session is crucial.

If you really love this sort of thing, here are the Brigham Young University Philharmonic Orchestra playing Copland on the salt flats in Utah (though disappointingly presented without the sound of the actual performance—either it was prerecorded or reverb was added) and the Toronto Symphony Orchestra with a rehearsal full of cameras (including on the conductor).

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